Erin Watson, writing in The Volta Blog about Linda Hogan’s Dark.  Sweet. (Coffee House Press, 2014):


“Sometimes everything you read seems to be about everything else you read, particularly in this trying, inescapable political landscape. The body moving through space, time, and memory. The body in history. The body of an American woman.”



Allison Titus, author of  The Arsonist’s Song Has Nothing to Do with Fire (Etruscan Press, 2014), interviewed by Ruth Awad, at Awad’s blog:


“Life is hard and sad and strange, and also miraculous: why pretend it’s anything else?”



Andrea Dulberger, writing in New Pages, about Crystal Williams’s Detroit As Barn (Lost Horse Press, 2014):


“… a reminder that history is shimmering, that it is not one thing.”




Elizabeth Savage, in Jacket 2, writing about Cynthia Hogue’s In June the Labyrinth (Red Hen Press, 2017):


“…each one of us may be considered a labyrinth walking a labyrinth, a winding and unwinding of losses and recoveries merging as “the timeless stream” of human understanding, not transcendent of time but continually altered by it.”




Kazim Ali, author of The Disappearance of Seth (Etruscan Press, 2009), interviewed by John Fry at the Bright Felon reader’s site:


“I don’t think we experience our lives linearly. Time works forward and backwards.”




Carol Moldaw, author of The Widening (Etruscan Press, 2008), in conversation with Abigail DeWitt in VIDA:


“Is it possible that invention itself, in fiction, is analogous to metaphor in poetry, that fiction writers invent characters and situations the way poets create metaphor?”




Luis Alberto Urrea, author of The House of Broken Angels (Little, Brown, 2018), interviewed by Brianna Goodman on the PEN website:


“I think we as writers are not exactly what the Western culture might tell us: We’re not lone individuals riding into the sunset. I think we are all collective. We are choruses.”




Elizabeth Harris, translator of Antonio Tabucchi’s For Isabel (Archipelago Books, 2017), interviewed in The Massachusetts Review:


“I’d like to make the music that I see fiddlers playing in Chagall paintings.”




Nancy Fumero, in The Rumpus, writing about Andrew Choate’s Stingray Clapping (Insert Blanc Press, 2016):


“… one can completely understand something that makes no sense.”




Patricia Horvath, author of All the Difference (Etruscan Press, 2017), interviewed in Tethered by Letters:


“People are complicated, situations are complicated; it’s essential to try to address them in all their complexity.”